Review: Girl in a Coma - Trio BC

Label: Blackheart Records

Released: June 2, 2009

Coming two years after their promising debut, Trio BC shows a young band that has done some significant maturing as musicians. The album maintains their early punkish edge, but expands the sound well beyond that. Nina Diaz elevates herself to a rough-around-the-edges Patsy Cline, particularly on the yearning, tender melancholy of "El Monte." They dabble a bit in T Rex's glammy boogie on "Slaughter Lane" before moving into more straightforward punk. "Joanie in the City" dips deep into the well of the Buzzcocks and the Jam so successfully that vocal help from Joan Jett herself doesn't overpower the band's sound. They even find interesting common ground between the Shangri-Las and the Smashing Pumpkins on "Trail". All of this is mixed with explorations of their own Mexican-American background that will surely draw comparisons to Los Lobos and the Plugz. But don't be fooled, because GIAC are paving their own road to the destinations previously visited by those bands.

The end result is a very good, comprehensive rock n roll album that draws from many things, but maintains a strong identity. It stems from growth in both songwriting and musicianship that doesn't compromise on the heart and soul that is the basis of the band. Girl in a Coma has adapted well to this musical growth, making Trio BC a sophomore album that's really good in the moment and also leaves open great possibilities for the future.

It's probably best to pick this one up on LP, because it'll be easier for the tattoo artist to copy it onto your body after you spend some time listening. Seriously though, the tattoo style artwork looks great on the 12" LP.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 8/10
Aretha: 8/10
Overall: 8/10

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GIAC has also made two really cool videos from this album, so check 'em out:





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Review: Saint Bernadette - Word to the Lourdes

Label: Exotic Records

Released: April 14, 2009

The band name and album title here present a question. Is this band serious or tongue-in-cheek? After all, they've named themselves after the saint whose visions of the Blessed Mother continue to provide awe and inspiration to the faithful 150 years later. While their name could clearly be taken seriously, the title's less-than-reverent allusion to the place of Saint Bernadette's visions could also be read, as the band itself suggests, as a reference to pop icon Madonna's child. This duality goes beyond the surface though and permeates the music.

The tunes draw on punk, 70s glam and straightforward rock n roll backing a strong vocal performance from singer Meredith DiMenna. She plays it sultry and sexy, but strong and really cultivates an atmosphere that is both dark and hopeful, serious and fun. The music is not merely a vehicle for her voice though as the songs still take precedence. They're catchy without being overtly hooky, allowing them to hold onto what they catch. Solid production capitalizes on the band's tightness without loosing the looser, glammy feel. More than anything though, it is the co-existence of sensual seediness and upbeat positivity that makes Word to the Lourdes not simply a fine rock record, but also a real reflection of life.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 7/10
Aretha: 8/10
Overall: 7/10

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Review: Shirock - Everything Burns

Label: self-released

Released: February 3, 2009

Everything Burns kicks off as a fairly typical post-emo mainstream rock album. There are bits of alt rock and emo tidied up in a nice, easily digestible package and yet...there's something else, something deeper going on with this record. Underneath what seems at first to be a solid, but uneventful set of songs, there's an exuberance that is a true rarity. This band has a message and in their earnestness, they will save the world (or do their best at least). Once the message hits, the songs seem larger, truer, better. And by half way through, something else becomes apparent: They love U2. Their best songs filter mid-80s U2 through the subsequent alt rock and emo explosions and come up with something unique, yet familiar. Like their mentors, they have, at least on their best tracks, marry memorable, moving rock n roll with a message of hope. In case this message might be lost on some, the spoken word part of title track's intro spells it out. They are going to "love people." It's that love that permeates the album and changes it from a solid release to a magnificent experience.

Check out their site for tour details. This band isn't just singing about living life the right way; they're actually doing it. They've partnered with local charities at each stop and all proceeds help the communities in which they're playing. Mark one for the good guys!

Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 8/10
Aretha: 9/10
Overall: 9/10

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DVD: Smashing Pumpkins - If All Goes Wrong

Label: Coming Home Media

Released: November 11, 2008

In June of 2007, the reunited Smashing Pumpkins (or Billy Corgan, Jimmy Chamberlain and some new members) decided to forgo a US tour and instead do two residencies, one in Asheville, NC and the other at the vaunted Fillmore in San Francisco. This was, as Jimmy Chamberlain said in the documentary portion of If All Goes Wrong, "art for art's sake," finding the band putting the present ahead of their celebrated past.

The live portion of the DVD is captured from the Fillmore shows. A full third of the songs are previously unreleased and includes none of their big hits from their commercial prime. The performance is a successful meeting between studio perfection and live connection. It is clean, yet intense and emotional. Most importantly, it is not capitalizing (and cashing in) on the past. This is what they're doing right now, not an attempt to pick up where they left off.

The documentary gives an unusually deep look into what went into these shows. Corgan is at times as pretentious as expected, but more often, he's down to earth and even amusing, so this is a look into a side of him that his music hadn't really revealed before. There is a certain disparate nature to these shows that becomes more apparent in the documentary. On one hand, there is a sense of serendipity, embodied by a Corgan associate's comment that "Billy is about chance" when discussing the selection of the Asheville location. The shows were clearly not intended to be a money-making venture (at least not directly) and they do find the band taking chances. On the other hand, the cost of the production, rather than its artistic value, is at times used as justification for Corgan's high expectations. Just as it successfully walks the line between sound quality and live emotion, it also seems to find success navigating the waters between its artistic and business faces.

Oddly enough, this set is better fitted to someone who enjoys artistic exploration regardless of their feelings about Smashing Pumpkins than it is to "fans." Those who remember enjoying their slacker anthems back in the mid-90s will be as sorely disappointed with this DVD as I suspect Corgan and company would be with such nostalgia. The material here may not be their very best work (nor their worst), but it definitely shows that Smashing Pumpkins are not willing to rest on their laurels and be satisfied cashing in on something they did at a different time. As Chamberlain says, "What's comfortable about art? It's not supposed to be comfortable." Perhaps those words best sum up this set. It ended up being something I respected more than I enjoyed.

Rating: 8/10

Review: Lindsey Buckingham - Gift of Screws

Label: Reprise Records

Released: September 16, 2008

A few years back, a friend and I made our list of the top 20 rock guitarists. At the time, I thought it was as close to perfect as such a list could be. It was however, deeply flawed and Gift of Screws reminds me why: Lindsey Buckingham wasn't on it. I'm not even sure how he was forgotten. Perhaps it's because, as good as he is, he plays for the song and not his own ego. Perhaps it was just that the songwriting often outshone his fretwork. Anyway you look at it though, we screwed up.

Buckingham's guitar work is nothing short of amazing on Gift of Screws. From the opening track, his ability to play like he's more than one person is astounding. The trouble with the album is primarily songwriting. Some of the songs are very good, nothing like the stuff he wrote 30 years ago with Fleetwood Mac, but good nonetheless. However, just as many feel like under-developed ideas. Strangely, these are the songs where his playing really stands out, because it alone saves them. It certainly doesn't seem like Buckingham's tank is dry, even as a writer. It just seems as though he should have taken a little more time fleshing out his musical ideas. It might have hidden his skill as a player a bit, but in a sense, that has been one of his best traits over the years.

Ratings
Satriani: 10/10
Zappa: 6/10
Dylan: 5/10
Aretha: 6/10
Overall: 7/10

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Review: Copper Sails - Hiding Place

Label: self-released

Released: January 13, 2009

Copper Sails seems like one of those bands that could be poised for the big time. I mean, this thing they're doing worked for Coldplay, didn't it? Hiding Place is carefully thought out, constructed and performed. They steal form all the right indie and alt bands on both sides of the Atlantic. The melodies are catchy and the smooth vocals (and Thom Yorke-y falsetto) float on top of just the right mix of jangles, angles and crunch for those who enjoy the least common denominator served up over easy. At times, "Sleeping Giant" for instance, it's almost like an indie rock take on AOR. The problem here is that Copper Sails have been too careful. They never throw caution to the wind. They never cut loose. As a result, Hiding Place is safe and light, pleasant, but placid.

Ratings
Satriani: 7/10
Zappa: 5/10
Dylan: 5/10
Aretha: 4/10
Overall: 5/10

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Review: The Feelings Mutual - s/t

Label: Ares Records

Released: June 24, 2008

The Feelings Mutual take off where 90s alt rock left off, adding some hard rock riffs to hints of both darkness and pop gloss around each turn. They open with the riff-heavy rock of "Monolith," but quickly scale that back into slower guitar-driven pop. At times they hint at Queens of the Stone Age, but lack Josh Homme's ability to find that intersection of heaviness, quirkiness and catchiness. "Black Cloud Dream" captures Nirvana's dark pop sense, but the chorus is glossier than even Cobain would have been willing to try. "Ring Me Out" even dabbles in the drunk rock swagger of the Replacements. The EP finishes strong with the 80s hooks of "Sleep," but overall it's hard not to think of the bands The Feelings Mutual sounds like rather than concentrating on what they're doing now. The songs are listenable, but simply not distinguishable from the successes of their influences.

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 6/10
Aretha: 5/10
Overall: 5/10

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Review: Violent Femmes - Crazy

Label: The Secret of Life Records

Released: June 24, 2008

The Violent Femmes return the favor to Gnarls Barkley (who covered "Gone Daddy Gone" on 2006's St Elsewhere) with this EP containing a cover of "Crazy." The trouble with Gnarls Barkley's offering was that it left the song entirely too intact. It sounds fine, but simply does too little to be truly interesting. "Crazy," on the other hand, gets a much larger injection of the Femmes wildly imperfect version of American roots music.

Gordon Gano's voice leaves an indelible mark on everything he touches and this is no exception. The a cappella version (which is really just the vocal track, not a vocal-only arrangement as I had vainly hoped) shows Gano's weaknesses as a vocalist, but as always, those weaknesses are strengths within the Femmes.

The loose sloppiness of the Femmes is certainly a departure from the technically superior Gnarls Barkley version, but even here it would have been nice had they taken it a bit further and really gone out on a limb to create something that has greater standalone value. Nonetheless, theirs is a version worth hearing and the "you cover my song, I'll cover yours" relationship makes this a great novelty (as does the limited edition, beautiful baby blue vinyl!).

Oh yeah, don't be put off if you don't have a turntable, because the fine folks at the label throw in a CD as well.

Ratings
Satriani: 6/10
Zappa: 7/10
Dylan: 8/10
Aretha: 7/10
Overall: 7/10

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Review: Love - Forever Changes (2008 Collector's Edition)

Label: Rhino

Released: April 22, 2008

Love is a second rate band, but at perhaps the creative peak of rock music. They existed at a time when the old marriage of R&B and C&W that was rock n roll was experimenting with a lot of new partners. Love was a part of that. At times, the result was brilliant, making it clear why no less than Jim Morrison found them inspirational during their sets on the Sunset Strip. But just as often, they floundered as they tried to push rock music to new levels.

1967's Forever Changes is in many ways a great snapshot of that period, precisely because it struggles. It isn't Sgt Pepper's or The Doors, but those records have become timeless with generation after generation discovering them anew. Forever Changes is an awkward album stuck in awkward time, giving it the appeal of primary source material rather than being reinterpreted over time. Does that make it essential? No, not for the casual listener. However, for those who want a less rosy glimpse of how rock music got from Elvis Presley and Chuck Berry to Led Zeppelin and Queen, this album is perhaps the perfect document.

For every great track, there are a couple more that dabble too heavily in show tunes or force a good idea rather than let it take shape. All in all though, it's messy, but not too difficult to get through once or twice. It's not a classic, but does provide a perspective that the classics can not and therein lies its real value.

The 2008 Collector's Edition of Forever Changes is two disc set that includes the original album as well as an alternate mix and some outtakes. The alternate mix serves no real purpose. The album's value is more historic than artistic, so a new mix only amounts to filler. Some of the outtakes are interesting though, because they show the mindset of a band trying to push the limits.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 5/10
Aretha: 6/10
Overall: 6/10

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Review: Hellcity 13 - s/t

Label: Break a Leg Entertainment

Released: October 24, 2007

Going into this review, I was under the impression that Helsinki's Hellcity 13 was just another Scandanavian glam band, but unlike the rest, they don't just want to revive hair metal, they want to revive the 80s almost as a whole. There is hard rock bombast that runs throughout the album, but I thought of Dead or Alive as often as I did Def Leppard. In many ways, they are able to bring AOR, glam, goth and synth pop together into one retro package. The trouble is that this combination, as seemlessly as they pull it off, is making music out of the least common denominator. Sure, they occasionally muster up a little bit of swagger and once in awhile they might even make you want to dance, but mostly they're just a reminder that rock and pop had hit a creative low point in the 80s.

They capture the musical aspects of the Reagan-era at all levels, from the writing to the performance to the production, and for those who aren't bothered by the decade's shallow veneer, Hellcity 13 are entirely competent to help them live in the past. For those who want anything more, move along. That's as much as this album offers.

Rating: 4/10

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Review: Various Artists - Love is the Song We Sing

Label: Rhino

Released: September 18, 2007

There are a few points in rock n roll time and space where everything just comes together and something new is born. Memphis in the mid-50s gave us rock n roll. New York in the mid-70s gave us punk. Seattle in the early 90s gave us grunge. All of these local scenes were the birthplace of both a music and a culture that disseminated to the rest of us in different times and places. Another of these scenes was San Francisco in the late 60s, the source of all things hippie. Love Is the Song We Sing: San Francisco Nuggets 1965-1970 tries to capture that point on the space-time continuum in four CDs.

To be fair, it's an impossible task to express what happened in San Francisco in the late 60s in any number of CDs, but this set does a fair job of trying, perhaps as good a job as could be done. It's more than just the scene's greatest hits. It collects the big names, the unknowns and everything in between, running the gamut from the Dead, Jefferson Airplane and Janis Joplin through Blue Cheer and the Chocolate Watchband to bands I've never heard before. That makes for enough familiarity to hold it together, but enough unknown ground to keep it interesting. Best of all, it errs on the side of the lesser known bands, making it a far better education that it would have been had Rhino played it safe.

Rating: 7/10

Contest: Name the following band to win a copy of the single CD promo for Love Is the Song We Sing. Don't post the answer in the comments. Email the answer to me. I'll announce the winner on Monday, October 1.

Review: Mars Hill - Fate Chance Luck Dance

Label: Sandbar Music

Released: May 2006

According to Mars Hill's Myspace page, they are "one of the most original and finest bands of the 21st century" and they are "genre-defying." The former is beyond a stretch. No offense, but they aren't even close. The latter, however, is pretty accurate.

The list of genres touched significantly by Mars Hill is longer than most bands' list of even their most remote influences. Over the course of the album, they hit jazz (of the good and bad variety), hip-hop, Spanish, cabaret, reggae, dance, soul and, of course, rock. Among those who try to bring in disparate influences, few bands can take a list that long and maintain their own sound throughout. Careful arrangements manage to make this album homogeneous, but the actual songwriting and performance lack life as if the experiment couldn't quite be brought to full fruition. To be fair though, the lounge angle is a part of their shtick and adding more personality to the songs may have compromised that.

Their talent as players is generally pretty evident, particularly in the rhythm section that really drives the album to the extent that it is driven. The vocals range from laid-back, spoken style, reminiscent of Damon Albarn's work in Gorillaz, to well-cadenced hip-hop to an ethereal female soprano usually appearing in a backup role. Keys, guitar and horns act more as accents. The production doesn't keep the elements separate, but also fails to fill out the sound. They're really not far off target; they just fall a little short of what could have been.

There are thousands of cover bands out there that can morph their sound into any genre on command, but there are not nearly so many that can incorporate all of those genres into a single sound. While Mars Hill doesn't quite nail everything, they do come pretty close, so close in fact that they may be poised for an outstanding follow-up to this good, but not great, album. It's not essential, but it's worth a listen if you're looking for a band that's going in a new direction and doing an admirable if imperfect job rather than making a shambles of it.

Rating: 6/10

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Review: Dan Wilson - Free Life

Label: American Recordings

Released: October 16, 2007

If you enjoyed Dan Wilson's band, Semisonic, than you'll enjoy his solo work as well. You'll also have to explain to all your friends why you like music that sucks, but that's beside the point. If you had the good sense to hate Semisonic than you'll likely hate this also...mostly.

Dan Wilson takes more of a folk rock approach on this album with only some alt rock leanings. Of course, I should be hesitant to use the word rock at all in this case, because it's something Wilson really fails to do. There's nothing wrong with the playing on this album and Wilson clearly has a good voice. The production is a bit thin in places, but stays crisp. The album is entirely listenable, but also entirely unenriching. Really, there are a few songs on this album that actually approach being good in places where the music sounds more organic and Wilson keeps his voice out of the upper registers. While a good soul singer can hit the high notes and energize the song, Wilson's voice has the opposite effect, deflating any energy the song may have built.

In a sense, Dan Wilson is like an alt rock James Taylor. There are hints that he's got some talent, yet his complete inability to fulfill his own promise makes the album fall even flatter than if it had no promise at all. If you like Semisonic, you might give this album 8/10, but I'd give you 1/10, so your opinion doesn't matter.

Rating: 3/10

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By the way, I have an extra promo copy of this CD. It's free to the first person who can make a compelling argument for why Rick Rubin touched this with a ten foot pole (he's executive producer). You can leave your answer in the comments, but be sure to contact me here as well so I know how to get in touch with you if you win.